Have you ever seen a panda play a pianica (also known as a melodica)?
Here you go:
I realised that when I last used the OMD, to make Floating Lanterns, I made a silly mistake. When I was dialling in the focal length of the lens for the camera’s image stabilisation, I forgot to account for the focal reduction of the lens turbo. On the OMDs you don’t factor in sensor crop when you enter the focal length for the IS system; so normally when you attach, say, an 85mm lens, you just punch in 85mm. But of course, if there’s a focal reducer, you do need to include the 0.72 reduction. In this case an 85mm lens comes out as 61mm. This time I set the IS first to 65, and then 55 and it was much smoother. When making Floating Lanterns I had the IS set to 85, and the over-compensation resulted in a fairly jittery image that needed stabilisation in post, particularly for the digital tele-converter shots. I thought I’d found the limits of the stabilisation system, but it seems not. This time around there is no stabilisation added in the editing software (Final Cut Pro X). Although perhaps some of the shots could have benefited from some light stabilisation…. When the lens x reduction factor comes out as an unusual number, as it does in this case, I think erring on the side of under-compensation (ie setting IS to 55 rather than 65) offered the smoothest image.
Most of this was shot fairly open, F2 or 2.8 (ISO 500 or so), as that was my instinct in a low-light situation. But I think I would have been better off stopping down slightly, to F4 say, and boosting the ISO. The OMD’s image seems to stay reasonably clean at ISO 800. I would have got less of a glow, and I would have nailed the focus on some of the trickier shots.
Post: 80% slow motion in a 24p timeline, ImpulZ LUT, sharpening at 2 in FCPX, 30% film grain, output to ProRes proxy (to try to hold onto the grain)